At the initiation of the project, the client asked KMW to create a setting that would foster the exchange of ideas, as these were, in fact, their primary product. A key feature of the resulting campus-like development is its Great Lawn, which gently falls toward the nearby groves. The guiding design principle was the preservation and enhancement of the natural beauty of this site requiring a non-obtrusive, subtle balance of buildings and landscape. Designed as a low, two and three-story building, the Headquarters facility steps down in the landscape to meet the sloping woodlands. The spaces within are conceived as a community of rooms at the exterior, flanking open work areas which in turn derive their utility and sense of place from the clerestoried atria which lie at the heart of the building.

A finger-like plan of office wings extending into the landscape gives an optimum of exposure to view and daylight to the places of work. The shortest of the wings contains the executive offices which are grouped around a semi-circular atrium. All wings terminate in the rounded form of their apsidal stair tower, and are marked by a pair of disengaged columns under the overhanging roof.

The atria are designed as nave-like spaces with ambulatories defined by three-story high round columns, an expressive roof structure and clerestories above. The main atrium floor is developed as a gardenesque bas-relief (in colloboration with the sculptor Michael Singer), another as a gallery for display of sculptures.

The long facades of honey-colored brick are of varying heights with the taller structured in three layers: a ground floor with vertical openings of French windows, a second floor punctuated by large square windows framed in limestone, and a continuous band of gridded windows above with branched columns supporting the roof overhang.